Nick and Meg Burrows return to Paris, the city where they honeymooned, to celebrate their 30th wedding anniversary and rediscover some romance in their long-lived marriage. The film follows the couple as long-established tensions in their marriage break out in humorous and often painful ways.

Filmed live during Morrissey’s most intimate gig in decades at the Hollywood High School in Los Angeles on 2 March 2013, this is the first authorised Morrissey film for nine years and marks 25 years of the solo career of one of the world’s most iconic and enigmatic performers. The film opens with fans talking about their unwavering devotion to the singer and the unique appeal of this unusual venue – a striking contrast to the sold out arena concert at the Staples Center on the previous night. Tickets to the concert in the 1,800-seater school auditorium were sold out in 12 seconds and this now legendary concert became Morrissey’s penultimate performance on the US Tour. Featuring many classic tracks from the artist’s prolific repertoire including Meat Is Murder, Everyday Is Like Sunday, Please, Please Please Let Me Get What I Want and The Boy With The Thorn In His Side, Morrissey 25: Live is an unmissable cinema event for fans worldwide.

Afghanistan, 2006, Helmand Province becomes one of the most dangerous places on Earth as the British Army is deployed into the Taliban heartland. The Operation, Herrick, became synonymous with the struggle as British troops fought a losing battle against this unseen enemy.

Recently released from prison, French chef Jacques pursues an obsession — to leave his past behind and work for the great British chef Victor Ellwood. He knows Victor had an affair with his mother and may even be his dad. Working for iron-fisted Victor is back-breaking, but his existence is softened by the presence of a curious girl living in the downstairs flat. As he falls in love with her, he realises she not only has an aversion to restaurants, but food of all kinds. Is her eating disorder a force too resilient for anything, even love to cure?

‘You have no choice about being here, you’ll have no choice about when you leave’ proclaims a woman in Xiaolu Guo’s latest film, a documentary about the personal and physical journeys of the people of London’s East End. Herself an immigrant to the area, Guo’s sensitive character studies hint at an affinity with the push and pull of feelings of alienation, a theme she has previously explored as a filmmaker (She a Chinese, LFF 2009) and novelist (A Concise Chinese-English Dictionary for Lovers). This empathy is also apparent in her playful stylistic approach that layers Warhol-esque news reports, archival material and a soundtrack including Linton Kwesi Johnson and Fela Kuti, to comment on the human cost of capitalism. The resulting film is both a penetrating portrait of a frenetic place that feels deeply authentic, and a powerful piece of protest film.

After spending the night partying at a condemned river creek, the atmosphere is soon lost for quiet teenager Reece and his friends. Headaches and heartaches give way to a terrifying race back to civilisation as a grossly disfiguring virus takes hold on the most vulnerable.

British documentary filmmaker Chloe Ruthven’s grandparents were aid workers in Palestine. Growing up, she had avoided getting too involved in the subject, recalling how mention of the country made all the adults in her life angry. In her forties, after revisiting her grandmother’s book on the subject, she starts to research a documentary on the effects of foreign aid in the area and is shocked at the continued reliance on it there. Along the way she meets Lubna, a Palestinian woman who acts as her driver and fixer, and who is fiercely critical of Western aid efforts in her country. What begins as a quest to better understand her family history turns into a deeply emotional account of two women trying to understand one another. Ruthven’s determination to focus her film on deeply subjective analysis results in a unique joining of the acutely personal and complexly political. (Source: LFF programme)

Lauren and her younger brother Harvey risk being taken into care when their grandmother, who is their legal guardian, becomes ill. Lauren accepts the offer of a scholarship to a prestigious sports academy on the understanding that she and Harvey stay together while living with Janice, her duplicitous and ambitious agent. It soon becomes clear that there are plans to split the pair up; when Harvey runs away to find their long-lost grandfather, who hasn’t been heard from for years, Lauren follows. En route the pair discover that, despite all their differences, when they are side by side they are strong enough to deal with anything. This beautifully shot British debut is part family drama, part coming of age story and a road trip that nods towards some of the greats of children’s literature. The young leads give compelling and moving performances that make for an emphatically British family film that’s refreshingly free of even the hint of a franchise. (Source: LFF programme)

When a struggling publisher discovers his only successful author is blocked he knows he has to unblock her or he’s finished. With her newfound success, she’s become too damn happy and she can’t write when she’s happy.The only trouble is, the worse he makes her feel, the more he realises he’s in love with her.

Darrell is a well trained prison bitch looking forward to a night alone in his cell getting jacked on the drugs he’s had smuggled in, when a riot erupts on the floors above. To separate the offenders, three of the inmates are placed in Darrell’s cell. Always up for a laugh, Darrell teases, flirts and annoys his fellow cellies Seth & Lanks, until a new boy is placed with them and becomes prey to these wild animals. Nothing short of offensive and disgusting, these boys are savage and hell bent on abusing, insulting, and degrading each other throughout the night. 4 Boys, One Room, & Pure Hell in the Cell, this trashy British arthouse, throwback captures the reality of the 80s.